Posts Tagged 'Dallas Museum of Art'



A Weekend of Celebration

This weekend we welcomed our newest neighbor to the Dallas Arts District, Klyde Warren Park, with two days of activities and free general admission to the DMA. On Sunday, October 28, we also celebrated ancient Mexico through our free Family Celebration, which took place during the closing celebrations of Art in October. We even held some of our programs at Klyde Warren Park. Below are a few pictures from the day’s events. Be sure to visit The Legacy of the Plumed Serpent in Ancient Mexico before the exhibition closes on November 25!

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Costumes from the Collection

Every year I struggle to think of a creative new Halloween costume to wear. Oftentimes the month somehow escapes me and I end up recycling one of my old costumes: a cat, witch, or something with a mask. However, this year I realized that inspiration is all around me in the DMA galleries. As I wandered through the Museum this month, I was flooded with images of myself as a fierce Hindu goddess with multiple arms, an affluent Asante chief covered with gold, or even a mummy wrapped in linen. Excited by all the endless possibilities, I decided to ask my fellow authors which artwork they would choose to base a Halloween costume on.

Amanda Batson

“Amanda Panda” drew her inspiration for a Halloween costume from the Banquete chair with pandas.
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Jessica Fuentes

“I would be Marcel Dzama’s The Minotaur. The sculpture already lends itself to a costume as there appears to be a person underneath the Minotaur’s mask-like head and the white cloth.  I like that the Minotaur should be a scary creature, but it looks defeated as it is portrayed here, with one horn, one arm, and one leg.  I also like that the artist includes the artist tools, paint brushes in a can, I think it would be fun to walk around as this character with all of the accessories.”
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Andrea Severin

Andrea created a headpiece inspired by our new Karla Black installation.
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Artie

Andrea’s adorable dog Artie also wanted to dress up!
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Hannah Burney

As for me, I decided to base my costume on the spooky gorgon head featured on the inside of this Black-figure kylix. In Greek mythology gorgons are treacherous female creatures that have snakes for hair and can turn anyone who looks them in the eye to stone.

Hannah Burney
Community Teaching Programs Assistant

Artworks used:

  • Banquete chair with pandas, Fernando Campana and Humberto Campana, 2006, stuffed animals on steel base, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund
  • Bird-form finial, Zenú culture, South America, Colombia, c. A.D. 500-1500, gold, Dallas Museum of Art, The Nora and John Wise Collection, gift of Mr. and Mrs. Jake L. Hamon, the Eugene McDermott Family, Mr. and Mrs. Algur H. Meadows and the Meadows Foundation, and Mr. and Mrs. John D. Murchison
  • Black-figure kylix, Greek, Attic, 6th century B.C., ceramic, Dallas Museum of Art, gift of Mr. and Mrs. Cecil H. Green
  • Necessity, Karla Black, 2012, cellophane, sellotape, paint, body moisturisers and cosmetics, Courtesy Stuart Shave/Modern Art, London and Galerie Gisele Captain, Cologne
  • The Minotaur, Marcel Dzama, 2008, plaster, gauze, rope, fabric, chair, bucket, and paintbrushes, Dallas Museum of Art, DMA/amfAR Benefit Auction Fund

Welcome to the Neighborhood

This week our city’s newest amenity comes online: Klyde Warren Park. Now that we have glorious palaces for high culture, bridges into developing communities, and burgeoning opportunities to live downtown, the next accomplishment to celebrate is a green attraction with an identity open for interpretation by every visitor.

The DMA staff looks forward to the impact of a pedestrian-friendly destination just steps from our front door. The car culture of Dallas is not unique, but whatever we can all do to encourage residents and visitors to stretch their legs and open their eyes can only improve the quality of life for all in our city.

Parks and museums share a great deal—we welcome people of all backgrounds, regardless of particular interests, we offer an informal setting for conversation and relaxation, and we don’t prescribe a route, a timetable, or an outcome for your visit. We both try to offer a respite from the commercial din of contemporary life, some perspective on daily life, and enjoyment that comes from a freedom to wander and explore without confinement.

We look forward to collaborating with the Park as it gets underway with programming, and to accelerating the pedestrian-friendly potential of the Dallas Arts District in a variety of ways. Welcome to the neighborhood, Klyde Warren Park!

Celebrate the grand opening of Klyde Warren Park this weekend. The DMA will move the Studio Creations program outside on Saturday and Sunday from 1:00 to 3:00 p.m., and on Sunday our Maya ballgame demonstration with Grupo Pakal will be held at the Park at 1:45 p.m. Visit the Park’s website for a complete list of events.

Maxwell L. Anderson is The Eugene McDermott Director at the Dallas Museum of Art.

Off the Wall: Where Does It End?

In our Center for Creative Connections we ask visitors to reflect on their responses to the spaces they encounter in art, as well as those they encounter in their everyday life.

For one work of art specifically, Lee Bontecou’s Untitled, we ask visitors to respond to one of three prompts:

  • To me, sharing space with this work of art feels like…
  • The words or pictures that come to mind when I look at this work of art are…
  • If this work of art was part of something larger, describe what it would be.

Untitled (35), Lee Bontecou, 1961

We have gotten a lot of great responses from visitors and want to share a few with you. Once a month we will have an “Off the Wall” post featuring three responses left by visitors.

Next time you are in the Center for Creative Connections add your contribution to the wall and maybe you will see it on Uncrated!

How to Win an Election

Election season is upon us! Join us at the Dallas Museum of Art on Thursday, October 25, at 7:30 p.m. for a lecture on the ancient Roman election of 64 B.C, when Marcus Cicero won the office of consul, the highest office in the land, with the help of his brother Quintus. Dr. Philip Freeman translated Quintus’ Latin text, How to Win an Election, written to guide Marcus to victory, and discovered the text to be as timely today as it was in ancient Rome. Uncrated caught up with him for a short Q&A and preview:

What piqued your interest in How to Win an Election?

I read the original in Latin back when I was a graduate student in Classics at Harvard. I was struck then by how timeless the advice in the letter was, so I’ve used it since then in my own undergraduate classes with positive responses from the students. A couple of years ago, I decided that it would be great if the general public could read this virtually unknown piece of ancient literature. I was thrilled when Princeton University Press agreed to publish and publicize it!

Does the advice really hold up for the modern-day election? Do you think your book should be required reading for those running for office?

It certainly holds up for today’s elections. Every time I read of a new scandal or technique from the presidential candidates, I think of Marcus Cicero and the election of 64 B.C. I do sometimes worry that modern candidates will apply the principles laid out in the letter, but I think most people running for office today know all the dirty tricks already!

Your work is rooted in the “dead” languages of the ancient world. What is the most difficult thing you have ever translated? And do you think anything is lost in translation?

Every translation is a compromise that loses something of the original. You can try to be painfully literal, but that misses the spirit of the original. You can try to just capture the broad meaning, but that won’t be accurate. I usually compromise and try to take a middle path. How to Win an Election is probably the hardest thing I’ve ever translated because I was struggling so hard to capture the flavor of the letter while staying true to the text.

We’re right around the corner from the next major presidential election. What are your thoughts on our current election process?

I’ve learned that nothing has really changed in 2,000 years. Politicians are still using the same techniques and making the same mistakes.

Any last minute advice you would give the candidates before November 6?

I think Cicero would say never take anything or anyone for granted. Even at the last minute, elections can change completely!

Dr. Philip Freeman is a Professor of Classics at Luther University in Decorah, Iowa. He has been interviewed by NPR’s All Things Considered and has talked on Roman politics across the country. He will lecture on Thursday, October 25, at 7:30 p.m. at the Dallas Museum of Art as part of the Boshell Family Lecture Series on Archaeology.

Liz Menz is Manager of Adult Programs at the Dallas Museum of Art.

Urban Armor: Elements of Art and Skateboard

The DMA’s tween/teen program Urban Armor seeks to integrate works of art, rich group discussion, and art making with an over-arching theme of identity so that students can find relevance and practical application to their lives. This exclusive tween/teen program kicked off the new school year with an awesome class, led by art educator and artist Mark Gutting. The workshop emphasized the elements of art and principles of design in our contemporary collection in order to inspire ideas for students to use in their work—their very own skate deck! The students created custom designs, symbols, and logos and were able to screenprint these designs on the back of a skateboard. While working with him, I gained some great insight on who he is as a teacher and a student. Check out my interview with Mr. Gutting below:

What is your background and why did you decide to become a teacher?

Mark Gutting: “Drawing fills my heart with joy.  I think it started with a doodle in childhood and has kept growing since.  Ten years ago, teaching became a logical direction. Teaching art presents a daily opportunity to share that joy.”

What were you like as a teen?

MG: “I’m sure that I was like any other teen–trying to stand out while fitting in. High school is when I first began to develop a style of my own. The funny thing is, I kept it hidden, like it was some big secret.  I didn’t want anyone to steal my style before I fully developed it!”

What about working with our Urban Armor teen group appeals to you?

MG: “The program’s focus on identity.  I’m not sure there is a more apt theme to being a teenager.  Creativity in any form is a wonderful avenue to discovering one’s identity.”

Is there a difference between teaching students in the museum and in the classroom?

MG: “In my experience, students are students; however, the museum presents a situation that can never be duplicated in the classroom–the gallery walk.  To wind through the galleries, sketching a pattern from a textile, a bead from a necklace, a tool mark from a sculpture, and a brush stroke from a painting, is to mainline inspiration.”

What was the goal of the program on Sunday?

MG: “As an educator, teaching the fundamentals of any subject is vital to building a base of knowledge.  Getting students inspired to learn–while having fun–is no easy task.  There are a multitude of art fundamentals found in skateboard deck art: line, shape, form, pattern, balance, positive and negative space, spatial organization, an endless list really.  I wanted to present the Urban Armor group with a unique project–screen printing a skateboard–while incorporating those fundamental concepts.”

Why skate decks?

MG: “I loved skateboarding as a teen.  The movement–the freedom of it–mesmerized me.  Since I was never good at skating, the deck art became my focus.  I spent many hours drawing my last name into some skull-infested graphics.  Back then, the concept of screen printing was future talk–complete science fiction to me.  I simply wanted to present the Urban Armor group with an opportunity I never had–to screen print an actual skateboard deck.”

What was your fondest memory of this class?

MG: “Getting to see the Urban Armor group experience the process of printing actual skateboard decks was a joy.  Hopefully, some of them will want to build their own screen printing rigs in their parents’ garages and crank out original works of art.  Everyone has to start somewhere!”

Why do you like working at the DMA?

MG: “The programs offered to students at the DMA are instilling a deep love for art and creating a new generation of museum patrons.  Who knows?  Maybe even the next Picasso.”

To find out more about Urban Armor and upcoming workshops please visit the website.

Amanda Batson
Program Coordinator for the Center for Creative Connections

Fourteen Years of TWO x TWO

TWO x TWO for AIDS and Art is an annual contemporary art auction held in the Richard Meier-designed Rachofsky House in Dallas and benefiting two organizations—the Dallas Museum of Art and amfAR, The Foundation for AIDS Research. The event has raised over $34 million in the past thirteen years, enabling the Museum to acquire more than 125  works of art. October 20 marks the fourteenth annual gala and auction, which features Richard Phillips as amfAR’s 2012 Honored Artist. To learn more about the history of TWO x TWO for AIDS and Art, and this year’s events, including the First Look preview party tomorrow evening, visit the TWO x TWO website. Explore past TWO x TWO events below with guests such as Barry Manilow, Alan Cumming, Patti LaBelle, and more.

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Seldom Scene: Karla Black at the DMA

Scottish artist Karla Black will open her first solo project at a U.S. museum this Friday at the DMA. For Karla Black: Concentrations 55, the artist has created two sculptures for the DMA’s Hoffman Gallery and South Concourse. See images from the installation process below, and meet Black and see her work at our Late Night this Friday. She will discuss her exhibition at 7:00 p.m. in the Hoffman Gallery.

Texas Art in a Texas Museum

I first joined the DMA team in July 2010 as an intern for the Curatorial Department of European and American art. In May 2011 I was hired as the research project coordinator for early Texas art, a two-summer position sponsored by the Texas Fund for Curatorial Research. As an art history graduate student specializing in 18th-century British art, I enjoy switching gears when I am in Dallas for the summer and learning about the history of the local art scene in my hometown. The culmination of my research is an addition to the DMA website that includes both a timeline of all Texas-related exhibitions and a historical text about the evolution of the Dallas art community over the years.

The most valuable resource for my project has been the DMA Archives. When I first started researching the relationship between Dallas art clubs, local artists, and the Museum, I spent many hours perusing exhibition catalogues and photographs from the 1920s, 30s, and 40s. I was surprised to learn that women played a central role in the early history of the Museum, and that support for local artists was strong and consistent throughout the decades. I quickly realized that most of my attention would be devoted to the period spanning the 1930s to the 1960s. During this time, the Museum sponsored between five and twenty exhibitions each year that exclusively showcased the work of Texas artists.

Most of these exhibitions were sponsored by local art clubs and were held annually. Examples include the Dallas Allied Arts exhibitions, the Dallas Print and Drawing Society exhibitions, and the Texas Watercolor Society exhibitions. For each exhibition, local artists submitted works for entry, which were then judged by a three-person jury prior to the opening of the show. Top works of art were awarded purchase prizes, which were monetary awards provided by art clubs, private donors, and local businesses. All works that received purchase prizes automatically entered the Museum’s permanent collection.

Here are some of my favorites:

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What surprised me most as I was researching the Museum’s collection of Texas art, and specifically the purchase prizes, is the variety of subject matter, techniques, and artistic styles. As you can see, Texas art is not restricted to panoramic views of the desert or scenes of cowboys at work on the ranch. There is much to be learned about the Museum’s vast and incredibly varied collection of regional art. I think it’s time we all took a closer look. Explore the Texas Art section of the Dallas Museum of Art’s website for additional images and information.

Alexandra Wellington is the former Research Project Coordinator for Early Texas Art at the Dallas Museum of Art.

Teaching for Creativity: Exquisite Corpse

At last week’s Go van Gogh training session, we decided to get everyone’s creative juices flowing with a fun warm-up exercise.  Volunteers got the chance to spend some time exploring works of art they had never seen before through a group writing exercise. During this experience, volunteers each contributed one line of a poem without knowing what the others had written. This collaborative technique was originally created by Surrealist artists interested in incorporating elements of chance into artistic expression. Known by the Surrealists as Exquisite Corpse, this activity can be done as a narrative or drawing game with several people contributing to one poem or artwork. After participating in a written version of this exercise, the volunteers were eager to learn more about the artworks they had written about. Their genuine enthusiasm and sense of wonder made me think that this could be a great way for students to get excited by works of art as well. I hope you will try it out with your students! Here’s how:

1.  Create at least one template with five lines of writing prompts. These are the prompts that we used for three different templates:

  • Noun, two adjectives, three words ending in “ing,” phrase, noun
  • One word, two words, three words, four words, one word
  • Two syllables, four syllables, six syllables, eight syllables, two syllables

2.  Divide into groups of four or five and take a few moments to look closely at a work of art (each group should look at a different artwork)

3.  Provide each participant with one template and a pencil to start

4.  Fill in the first line and then fold it so that your written response is hidden from view

5.  Pass the template to your neighbor

6.  Fill in the next line on the template passed to you, fold it, and pass again

7.  Continue these steps until all the templates have been filled out. At the end of this exercise, each participant should have a completed narrative that they can unfold and read aloud to the other writers. After reading all the templates, each small group should choose one to share with the larger group.

Here are some collaborative narratives that Go van Gogh volunteers wrote:

Starry Crown, John Thomas Biggers, 1987, Dallas Museum of Art, Museum League Purchase Fund

Gorgeous

Traditional

Ladies talking quilt

Stars, hats, hands, feet, toes, fingers, shine

Perfect

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Bougival, Maurice de Vlaminck, 1905, Dallas Museum of Art, The Wendy and Emery Reves Collection

A fall day in Europe

Landscape of a village

Peaceful

Sunflowers and seawater

Apples

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That Gentleman, Andrew Wyeth, 1960, Dallas Museum of Art, Dallas Art Association Purchase

Somber

Serious, somber

Sitting, relaxing, contemplating

Why is he so sad?

Man

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June Night, Henry Koerner, 1948-1949, Dallas Museum of Art, Foundation for the Arts Collection, gift of Joshua L. Logan

Colorful

Everyday, wedding

Marrying, dreaming, loving

A busy art building

Hope

I hope you all have as much fun with this as we did!

Hannah Burney
Community Teaching Programs Assistant


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